간행물

유럽사회문화 update

European Society and Culture

  • : 연세대학교 유럽사회문화연구소
  • : 사회과학분야  >  인문지리
  • : KCI등재
  • :
  • : 연속간행물
  • : 반년간
  • : 2005-8055
  • :
  • :

수록정보
수록범위 : 1권0호(2008)~27권0호(2021) |수록논문 수 : 236
유럽사회문화
27권0호(2021년 12월) 수록논문
최근 권호 논문
| | | |

KCI등재

1시적 공간으로서의 치매의 내면세계 - 인문학적 이해를 통한 치매 인식의 전환

저자 : 남덕현 ( Nam Duk-hyun )

발행기관 : 연세대학교 유럽사회문화연구소 간행물 : 유럽사회문화 27권 0호 발행 연도 : 2021 페이지 : pp. 5-40 (36 pages)

다운로드

(기관인증 필요)

초록보기

Nach Foucault gründet sich die allgemeinen modernen Erkenntnisse über die Endlichkeit. Unsere Erkenntnis von Dementia basiert sich enbenso darauf und kann nicht über 'das historische und allgemeine Apriori' hinausgehen. Humanwissenschaftliches Denken und künstlerische Repräsentation versuchen trotzdem das Apriori zu überschreiten, durch die eigene Vorstellungskraft und die fortschreitende Enthüllung des Unbewußten.
In Die Ästhetik des Wiederstands von Peter Weiss repräsentiert sich die innere Welt der Demantia als ein surrealer Raum. In diesem Raum des Unbewußten werden die räumliche und zeitliche Ordnung und die Kausalität mehrfach gefaltet, durch die historische Gewalt. Aber dieser Raum gehört auch zu unserer Wirklichkeit. Also versucht Weiss die Rekonstruktion von unserem Gedächtnis und Bewußsein durch sein widerständiges Schreiben, indem er die Bilder, Geläusche und Empfindungen im Unbewußten erneut zusammenlegt, um die widerständige Kraft darin zu aktivieren.
Die humanwissenschaftliche Vorstellung, die das Unbewußte durch künstlerische Repräsentation rekonstruieren will, kann also eine Wende unseres Wissens von der Grenze zwischen Realität und Surrealität, Normalem und Abnormalem bringen, und somit die Ordnung der Diskurse über Dementia neulich einrichten.

KCI등재

2플로베르의 『살람보』에 나타난 종교적 혼합

저자 : 진인혜 ( Jin In-hea )

발행기관 : 연세대학교 유럽사회문화연구소 간행물 : 유럽사회문화 27권 0호 발행 연도 : 2021 페이지 : pp. 41-69 (29 pages)

다운로드

(기관인증 필요)

초록보기

De nombreux noms de dieux sont mentionnés dans Salammbô. Si on inclue les dieux dont les noms ne sont mentionnés qu'une seule fois, le nombre est proche de 50. Cela invite le lecteur à un monde inconnu du monde humain, c'est-à-dire le monde divin. Parmi les nombreux dieux, au centre de l'oeuvre se trouve la confrontation entre Moloch et Tanit. Moloch et Tanit symbolisent des forces opposées : soleil et lune, mâle et femelle, cruauté et sensualité. Dans Salammbô, Tanit occupe le premier siège et l'histoire se déroule autour du mouvement de Moloch pour la faire descendre. C'est-à-dire que dans la première moitié du roman, le centre de gravité penché vers Tanit est déplacé vers Moloch dans la seconde moitié. Et dans la bataille entre Tanit et Moloch se révèle le contour de la victoire de Moloch.
Mâtho et Salammbô incarnent respectivement deux divinités, Moloch et Tanit. Alors que Salammbô est une figure liée au divin depuis le début, Mâtho n'est d'abord qu'un soldat étranger, mais est progressivement élevé à une figure surhumaine qui incarne le divin. Dans la tente de Mâtho, les deux hommes ont enfin une union sexuelle. Cela symbolise l'union sexuelle de Moloch et Tanit, de sorte qu'à l'intérieur, l'homme jouit des plaisirs des dieux. Est-ce le prix de goûter aux plaisirs des dieux? Dans le dernier chapitre du roman, Salammbô et Mâtho meurent.
Mâtho souffre terriblement jusqu'à sa mort. La lecture de sa souffrance, qui s'étend sur plus de quatre pages, chevauche l'image de la passion de Jésus. De même que Jésus a gravi la colline du Golgotha pour être crucifié, Mâtho marche pas à pas vers la mort. Comme Jésus, il est battu, tombant et se relevant à nouveau, avec un corps couvert de sang. Et à la fin, son coeur est dédié au dieu solaire et devient un avec le dieu. De cette façon, on peut dire que la mort de Mâtho a un symbole religieux aussi significatif que celle de Jésus. De même que Jésus est ressuscité et monté au ciel, Mâtho est uni au dieu solaire.
Si Mâtho peut être lié à Jésus, Moloch peut être lié à Jéhovah. Parmi les notes de Flaubert, on peut voir la phrase "Jehovah égale Moloch". C'est l'interprétation de Flaubert de l'Ancien Testament où l'image du Seigneur est dépeinte dans la fureur et la colère. Flaubert pensait que le christianisme, qui prétendait répandre la civilisation en tant que religion éclairée, n'était en fait pas différent d'une religion sauvage. Et à travers son travail, il montre cette pensée à l'envers. En effet, en traitant la religion de Carthage, il suggère que “Moloch égale Jéhovah” par la structure chrétienne de la passion et de la résurrection de Jésus. Flaubert, qui abhorrait l'exclusivité du christianisme montre finalement que toutes les religions ne sont pas différentes en superposant la structure de base du christianisme à la religion carthaginoise. Bref, la représentation religieuse de Salammbô, qui dépeint Carthage, l'envers de l'antiquité chrétienne, dans une composition homogène avec le christianisme, est plus soumise à l'unique recherche poétique de la cohérence de Flaubert qu'à un ordre mystérieux et transcendant.

KCI등재

3프루스트의 초기 단편에 나타난 죽음

저자 : 유예진 ( Yoo Yaejin )

발행기관 : 연세대학교 유럽사회문화연구소 간행물 : 유럽사회문화 27권 0호 발행 연도 : 2021 페이지 : pp. 71-95 (25 pages)

다운로드

(기관인증 필요)

초록보기

La mort occupe une place primordiale non seulement dans le roman monumental de Proust, À la recherche du temps perdu, mais déjà dans ses premiers textes de jeunesse dont la plupart prend la forme de nouvelle. Dans La Mort de Baldassare Silvande, La Fin de la jalousie (deux nouvelles faisant partie des Plaisirs et les jours, premier livre publié de Proust à vingt-cinq ans) et Le Mystérieux correspondant (nouvelle rédigée à la même époque mais non publiée du vivant de l'auteur), la mort est présentée comme une solution forcée à l'amour impossible, soit à cause du caractère homosexuel, soit à cause de la jalousie rongeant le coeur de l'amant. La maladie incurable, l'accident mortel ou le suicide semblent fournir une sortie gratuite pour les amants malheureux. De plus dans ces nouvelles de jeunesse la mort semble offrir une occasion d'orchestrer une mise en scène de sa propre mort pour en faire une oeuvre d'art, quelque chose que le personnage en question n'a pas réussi à accomplir de son vivant. Quelques traits relatifs au thème de la mort se trouvent répercutés dans la Recherche, mais la manière de les présenter se diffère le plus. Il faudra passer par les différentes étapes de la vie et les diverses tentatives de forme d'écriture pour que l'auteur arrive à voir la mort non comme une solution finale aux difficiles périples de la vie, mais comme une étape à franchir parmi d'autres et avant l'arrivée de laquelle l'oeuvre d'art devrait finalement se concrétiser.

KCI등재

4저항과 불복종의 신화적 여성 이미지 <안티고네> - 장 콕토와 장 아누이의 『안티고네』를 중심으로 -

저자 : 곽민석 ( Kwak Minseok )

발행기관 : 연세대학교 유럽사회문화연구소 간행물 : 유럽사회문화 27권 0호 발행 연도 : 2021 페이지 : pp. 97-123 (27 pages)

다운로드

(기관인증 필요)

초록보기

신화는 전해지는 이야기이고 허구적이며, 확정되지 않았기 때문에 작가가 창조적으로 재창조할 수 있는 소재이다. 신화가 시대와 함께 변화하며 늘 새롭게 재생산되는 이유는 신화가 인간과 사회에 대한 담론을 생산하며 인간의 근본가치를 탐구하는 기능을 가졌기 때문이다. 신화에는 창조 신화, 역사신화, 문화적 신화 등이 있는데, 특히 문화적 신화는 서사구조를 통해 인간 삶의 본질을 다루고 있다는 점에서 더욱 현재성을 지닌다. <안티고네> 신화가 그 문화적 신화의 한 예라 할 것이다. 본 연구에서 우리는 안티고네 신화를 다룬 작품을 주된 분석의 대상으로 했는데, 바로 20세기 극작가인 장 콕토와 장 아누이의 안티고네 소재 작품들이 그것이다.
장 콕토의 안티고네는 소포클레스의 비극을 기본적인 플롯을 유지한 채 축약하고 이 과정을 통해 신화를 혁신적인 방식으로 다시 현대적 관점에서 되살려 보여주고 있다. 이를 통해 소포클레스의 비극의 등장인물, 특히 안티고네 캐릭터의 비극적 의미를 계속 유지하고 있다. 이는 안티고네라는 인물의 존재의 이유를 잃지 않기 위해 존재의 깊이에 충실하고, 목숨을 걸고 자신의 정체성을 유지하기 위한 안티고네의 기본적인 특징, 즉 운명에 복종한다는 소포클레스의 의도를 반영하면서 현대적으로 재해석하고 있는 것이다. 특히, 소포클레스의 희곡에서처럼 콕토는 주인공 안티고네의 마지막 모습에서 죽음 앞에 약해지는 주인공의 특징을 20세기 동시 대적 상황에 맞게 그려내고 있다. 즉, 안티고네가 자신의 반란과 이로 인한 죽음에 대해 두려움을 보여주는 인간성을 보여주면서 자존감과 동시에 자신에게 복종하는 비극적 영웅의 요소를 통해 20세기 사회 문화적 상황에서 콕토가 소포클레스의 작품에서 보인 안티고네 신화의 고전적 의미에 현대적 생명을 불어넣은 것이다.
장 아누이의 안티고네는 소포클레스의 희곡 안티고네를 보다 극적으로 변형시킨다. 즉 소포클레스의 희곡을 2차 세계 대전 중 프랑스가 나치 독일에 점령당했을 때 비시 정부와 자유 프랑스군 사이의 견해 충돌을 비유적으로 표현한 것이다. 아누이는 이를 통해 도덕적 타협의 세계에서 등장 인물, 특히 안티고네의 무결성을 유지하는 주된 주제를 보여주고 있다. 또한 이 작품은 2차 세계 대전 중 프랑스의 정치적 시나리오를 비유적으로 보여주는 것이라 할 것이다. 안티고네는 이상주의자로, 크레온은 실용주의자로 묘사하며 그들의 사고과정을 보여줌으로써 독자들에게 타협하는 쪽에 공감하게 하면서 도덕적 타협을 비판하고 있는 것이다. 아누이는 도덕 측면에서 타협한다 해도 자신의 욕망과는 상관없이 상황 때문에 그렇게 한다고 주장하며, 권위주의적 질서 속에서 법과 질서의 정확성과 절대성을 비판하기도 한다. 따라서 아누이는 국가와 종교간의 충성을 위한 소포클레스의 경쟁에서 초점을 이동하여 모든 것에 대한 믿음에 의문을 제기하고 있는 것이다.


The original Antigone, tragic play, was written by the Greek poet Sophocles, but the different playwrights, especially in France, often picked up Greek themes and rewrote them, with the aim of bringing out a new interpretation of the characters' attitudes, or by using the old theme, to give it "a modern breath, and a new spirit, often appearing in their philosophy." As everyone knows, the story of Antigone is well known and prevalent in most works of art and literature in the occidental culture. With the image of resistance and disobedience, the heroine Antigone has more than once served as a source of inspiration for many works of art, literature, music, theater and cinema. In France, ancient Greek mythology thus became an important theme of French literature of the twentieth century, as evidenced by the writings of Jean Cocteau and Jean Anouilh among other writers.
First, the replicas of the heroes of the French playwright follow quite faithfully the lines of the characters of Sophocles, but they are appreciably abbreviated by the author, in particular the songs of the choir. Since Cocteau carefully adheres to the plot of ancient tragedy, it is often possible to directly compare the lines of modern heroes with those of ancient Greek tragedy. Next, in his play Antigone, Jean Anouilh directly expressed his inner poetic feelings through the genre of ancient Greek tragedy, exposing his thinking on people and his reflection on the value of human life. There is no other way to describe Anouilh's gaze than cynical. Destruction is the only thing that happens to those who keep the ideal or ultimately keep it. Even the noble Antigone is confused in the face of death. Creon, who is destroying Antigone, awaiting his own destruction and speaking to the choir, recalls a Greek tragedy, although it was originally a Greek tragedy.

KCI등재

5유럽 정신치료의 역사에서 심상의 치료적 활용과 음악의 수용

저자 : 강경선 ( Kang Kyungsun )

발행기관 : 연세대학교 유럽사회문화연구소 간행물 : 유럽사회문화 27권 0호 발행 연도 : 2021 페이지 : pp. 125-152 (28 pages)

다운로드

(기관인증 필요)

초록보기

This study aims to shed light on the academic evolutionary process from the understanding of the therapeutic use of imagery in Europe to the birth of modern Guided imagery and music(GIM). In European psychotherapy, imagery is fundamentally based on psychosomatic theories. From correcting imagination technique, which is the 'the principle of contraries' in the 16th century, to Mesmer's hypnosis treatment in the 18th century, and then to the 20th century, Freud's free association, Jung's active imagination, Desoille's directive imagery technique, and Leuner's thematic image scale, it has always held an important position in the history of psychotherapy of Europe and has had a direct impact on cognitive behavioral therapy and GIM in the United States. Music was attempted and used by Mesmer in the early days of modern psychotherapy, but disappeared as it was dismissed as an unscientific study. However, as the therapeutic use of the image evolves in Freud's psychoanalysis, it is finally reborn as an GIM. GIM is an encounter between art and imagery that reflects the human spirit, a rediscovery of transcendental experience that is the prototype of the treatment of our human race, and a new approach at the same time.

KCI등재

6마누엘라 살비 『코비드19』(2020)와 코로나 팬데믹 초기 이탈리아 - 혐오와 존엄

저자 : 이행선 ( Lee Haeng-seon )

발행기관 : 연세대학교 유럽사회문화연구소 간행물 : 유럽사회문화 27권 0호 발행 연도 : 2021 페이지 : pp. 153-187 (35 pages)

다운로드

(기관인증 필요)

초록보기

Italian author of Manuela Salvi wrote the novel Covid-19 from March to April 2020. At that time, Italy was seriously hit by the first outbreak of COVID-19 and strong government quarantine measures were being taken. In isolation, Manuela wrote a total of 28 short stories a day from March 15 to April 11. This novel was the product of the author's perception and imagination in response to COVID-19 at the time. Around that time, COVID-19 was prevalent in Korea, especially among members of Shincheonji in Daegu. In a situation where social anxiety and conflict intensified due to COVID-19, Italian coronavirus novel served to present Koreans with foreign coronavirus responses and perceptions. In particular, COVID-19 exposed the issues of democracy, human rights, freedom, and community consciousness in each country. In short, this article is intended to research on the author's perception of Italian corona and the imagination of overcoming Corona in the context of "hostility, deepening conflict" and "respect and consideration for others/self." COVID-19 has caused serious damage and social conflict, but on the other hand, people are responding to and adapting to the chaotic COVID-19 era through respect, consideration, and consolation for each other.

KCI등재

7동북아시아 교류와 충돌, 혼종문화의 접점 사할린

저자 : 이은경 ( Yi Eun-kyung )

발행기관 : 연세대학교 유럽사회문화연구소 간행물 : 유럽사회문화 27권 0호 발행 연도 : 2021 페이지 : pp. 189-219 (31 pages)

다운로드

(기관인증 필요)

초록보기

This paper examines the unique culture formed as a result of intercultural exchange and conflicts in Northeast Asia by looking back on the history of Sakhalin Island. For this purpose, first of all it deals with sharp conflicts and confrontations between Russia and Japan. At the beginning of the 20th century, Sakhalin became an arena for competition of various ethnic groups flowed into this area. As a result, it became a specific cultural topography, where the cultures of the Ainu people and the Nivkh people, as well as the cultures of Russia, Japan, China, Mongolia, and Korea coexist. In the same context Sakhalin was able to serve as a place of cultural encounter in Northeast Asia, where various cultures could meet each other.
Today Sakhalin has value of cultural center, which is as important as its geographical and economic usefulness. Sakhalin, which used to be a place of sharp confrontation between Russia and Japan, has become a space with an advantage of multicultural diversity. The coexistence of these diverse cultures has transformed this island into an open space. With a new era Sakhalin, which was isolated from the central culture(Russia's metropolitan culture) could create various cultures due to its receptiveness, created by its unique history and the isolated environment of an Island. Thanks to the culture of Korean diaspora in the previous years today korean culture naturally dominates Sakhalin and enjoys great popularity. Sakhalin, which was a victim of imperialism in the 20th century, is still playing a role as the center of hybrid culture, and it becomes a new arena of cultural imperialism in the 21st century.

KCI등재

8에벤키족 자연지형물과 문화 기원신화의 유형과 특징

저자 : 엄순천 ( Eom Soon-cheon )

발행기관 : 연세대학교 유럽사회문화연구소 간행물 : 유럽사회문화 27권 0호 발행 연도 : 2021 페이지 : pp. 221-254 (34 pages)

다운로드

(기관인증 필요)

초록보기

This paper examines the development of the evenki people's worldview by analyzing the types and characteristics of the myths of the origin of natural features and the myths of cultural origin. According to the motif, the myth of the origin of natural features is divided into the myth of the completion of the earth and the myth of the battle motif. The myth of cultural origin is a myth about the origins of institutions, customs, economic activities, technological production tools, and daily necessities necessary for human cultural life. In the mythology of the cultural origins of the evenki people, the cultural heroes took the form of bears, half-humans, half-beasts, humans, and gods according to the stage of development of the worldview. The motif of the evenki bear-shaped cultural hero myth is body rebirth. In this type of mythology, the evenki and all the individuals in the universe were differentiated from the body of the bear, the original being, and the bear transferred its life force to each individual in nature, completing the creation and dying. Through this type of myth, we can get a glimpse of the evenki people's organic view of nature that all individuals in the universe are separate and independent beings, but they share the vitality of the original existence. In the myth of cultural origins of the evenki people, the cultural hero in the form of a half-human and half-beast is a complex creature of a human and a bear, and a human and a bear are related. Since the subject of the rituals and rituals from the cultural hero is male, this type of myth must have emerged in the patriarchal society. Cultural heroes in human form appeared later than bear or half-human and half-human figures, and the center of the myth is not individual life, but the fate of a group inseparable from nature. Nyungurmok, a cultural hero in the form of a woman, is a divine being who sent the ancestors of the evenki tribe as a relay and taught the basic elements of material and spiritual culture. The two brothers, or the motifs of Sebeki and Hargi, of cultural heroes in male form, are located in the final stage of the creation myth of the evenki people. This type of mythology is neutral in the value judgments of the actions of Sebeki and Hargi, and emphasizes that their coexistence makes the universe complete and harmonious.

1
권호별 보기

내가 찾은 최근 검색어

최근 열람 자료

맞춤 논문

보관함

내 보관함
공유한 보관함

1:1문의

닫기